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SELECTIONS FROM 

ELEANOR C. DONNELLY 



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CHICAGO 



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The ytkegtrle Classics Szuzs. 

With Portraits, Introductions, Notes, Historical and Biographical Sketche*. 

1. Selections from Plato. Edited by IT. T. Nightingale; boards. 12mo., 154 pages- 

illustrated, containing " The Phaido" and "The Apology of Socrates," 20 cents 

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4. The Princess. By Alfred Tennyson, enameled covers, 90 pages, illustrated; 

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ELEANOR C. DONNELLY 



Wot Ha&eei&c $rrieis of ffincliab Restiincei 



SELECTIONS 

From the Writings of 

ELEANOR C. DONNELLY 

With Notes and Questions 






CHICAGO 

AINSWORTH & COMPANY 
1904 



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■ 

6 1304 
Q Jowrteht Ewry 

CLASS ^7 XX©. No. 

' COPY B 



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Copyright 1904 

BY 

AINSWORTH & COMPANY 



-ALL KIGHTS KESKRVED 
L. O. 101. 



PREFACE 

On the training of youth is based the hope of 
the future; and as literature wields a potent in- 
fluence in the formation of character, it is to this 
agency that educators turn as one of their chief 
defenses against the powers of destruction that 
threaten the stability of the social structure. 

The part that Catholic authors have contrib- 
uted to literature places them high in public 
esteem. Their works bearing the impress of their 
Faith, which in its beauty and elevating influence 
needs but to be seen to be loved, entitle them to be 
enshrined in our hearts and engraven on our minds. 

It is from these sources that we have drawn for a 
series of studies adapted to the capacity of young 
minds, and which, we hope, will supply a long felt 
want in our Catholic preparatory schools. 

In bringing Eleanor C. Donnelly to the acquain- 
tance of pupils we are introducing one of the sweet- 
est singers of the age. Her modesty interposes 
a barrier to further encomium, but familiarity 
with her poems, we do not hesitate to say, will 
complete the tribute here merely suggested. 

The Compiler 



INTRODUCTION 

ELEANOR C. DONNELLY 

When but eight years old Eleanor Cecilia Don- 
nelly began to write verses, and from the time 
that she was nine, her beautiful poems and well- 
written stories have been constantly 
Her Life and appearing in the best periodicals and 
Works newspapers of the country. Her pen 
has always been devoted to the ex- 
tension of the Catholic cause and the elevation of 
Catholic literature. 

She was born in Philadelphia, and was one of 
the seven children of Dr. Philip Donnelly and 
Catherine Gavin Donnelly. As Dr. Donnelly died 
when Eleanor was still an infant, the remarkable 
talent displayed by the child at so early an age 
was nurtured and directed by the mother, a gifted 
and accomplished woman. 

Among her stories, "Amy's Music Box," "Pet- 



8 ELEANOR C. DONNELLY 

ronilla and Other Stories," and "The Lost 
Christmas Tree" are favorites with young readers. 
Besides her stories and numerous contributions to 
various magazines, she has published at least a 
dozen volumes of poems. With a charm that has 
seldom been excelled, she has told in exquisite 
verse, the sweet old legends and stories of the 
past. Prominent among these are her "Vision of 
the Monk Gabriel," "The Bronze Berenice," 
"Borgia's Vow," " A Tuscan Magdalen," "Gaul- 
berto's Victory," and the poems here presented 
for study, "Unseen Yet Seen," and "The Legend 
of the Robes." 

Her sacred poems bespeak the strong faith and 
tender piety of their author. "The Hymn of 
Reparation," "Taken at Our Word," and "The 
Vision of the Wounds," move our hearts by their 
sweet pathos and haunt our memories by the 
reverent music of their lines. 

The theme of Longfellow's "The Legend Beau- 
tiful," is the same as that of Miss Donnelly's 
"Vision of the Monk Gabriel." Longfellow wrote 
his poem eight years after Miss Donnelly published 
hers, and it is believed, took his inspiration from 
her. " A favorable opportunity was thus offered," 
remarks a reviewer, "for examining and contrast- 



IXTRODUCTIOM 9 

ing the respective work of both Writers ;and, while 
Longfellow's ' Legend ' was compared 
What Others t0 a statue boldly wrought in cold 
Say of Her. marble by the sculptor's deft hand, 
Miss Donnelly's 'Vision of the Monk 
Gabriel' was likened to an old painting iu 
which warmth of imagination, artistic vigor, 
and tenderness of color and expression joined to 
make the picture life-like." 

"It is impossible to read Miss Donnelly's 
poems," says one of her critics, "and not at least 
desire a better life, a closer union with Infinite 
Perfection." Another speaks of her as "a writer 
whose originality, abounding metaphor, grace of 
diction, sweetness of rhythm, fire, pathos, purity 
of sentiment, and sublimity of thought entitle her 
to rank among the first of American poets." And 
again, "The authoress is fully conversant with the 
wonders of nature and the workings of grace; and, 
like the clean of heart, she sees God in all things. 
Her muse ever tends to develop the better feelings 
of men, to excite pity for suffering, and charitable 
consideration for erring humanity, and, in all and 
above all, to promote the glory of God." 

Miss Donnelly still resides in Philadelphia, 
where she is the center of a cultured circle of 



10 ELEANOR C. DONNELLY 

admiring and devoted friends. Her native city 
has not been unmindful of the poetic talent of its 
gifted daughter, but has twice conferred upon her 
public literary honors. "It was her pen that was 
selected by the American Catholic Historical So- 
ciety of which she is a valued member, to prepare 
an 'Ode' for the Philadelphia commemoration of 
the adoption of our National Constitution, as also 
the Columbian 'Ode' for her native city's cele- 
bration of the quadricentennial of the discovery 
of America." The honor of composing the" Odes" 
for the Golden Jubilees of the Priesthood and of the 
Episcopacy of His Holiness, Pope Leo XIII, was 
also conferred upon Miss Donnelly, by the Catholic 
literary world of America. The work elicited 
from His Holiness the Papal Benediction. 



UNSEEN YET SEEN ■ 11 



UNSEEN YET SEEN 



One of the best known of Miss Donnelly's works 
is her exquisitely finished poem, "Unseen Yet 

Seen." It is a story with a moral, 
The the author's purpose being, evi- 

Purpose. dently, to teach the lesson of purity 

of intention — to show 

How utterly false and mean we grow 
When we work for the tyes of men alone ; 

— and how, not less unworthy is he who has "self" 
as the end of all his actions; for, she continues, 
A selfish purpose narrows and numbs 
All that is noble and fresh within us . 

This valuable lesson is not merely implied, but is 
clearly expressed in these strong words: 
That nothing avails us under the sun, 
In word or work, save that which is done 
For the honor and glory of God alone. 

The whole poem is a beautiful paraphrase of the 
Gospel promise, "Thy Father who seeth in secret 
will repay thee," and of that other, "Seek ye first 
the kingdom of God and His justice, and all these 
things shall be added unto you." 

In answer to an inquiry concerning the "thought- 
ful book," in which Miss Donnelly read of the 
"old cathedral over the sea," she says, "As regards 

Lore. 



12 ELEANOR C. DONNELLY 

the query anent 'Unseen Yet Seen' — the lapse of 
years and the vast amount of work completed 
since its composition, make it difficult for me to 
recall the incident attendant on it. I have the 
impression that the 'book' referred to was the 
'Life and Letters of Father Frederick William 
Faber.' And, if the 'cathedral' in question be not 
the cathedral of Milan, I know of none other that 
so perfectly expresses my simile." 

Clear and simple, but strong and beautiful, like 
the little legend itself, is the style in which Miss 

Donnelly clothes her story. The 
The Style. tone is earnest and dignified, and the 

diction sweet and musical. Well- 
chosen similes and metaphors abound, and in 
every instance make clear and enhance the thought 
expressed. 

With the delicate touch of a master hand she 
has painted the picture of the old artist at his 
work "on roof and tower and belfry gray." The 
picture is warm and living with color and sound. 
Over it all falls the soft, dim light of the legendary 
past. 

The meter employed is mixed iambic and ana- 
pestic tetrameter. The varied rhyme of the poem 

constitutes one of its many attrac- 
The Verse. tions, alternate rhyme, couplets, 

and triplets being interspersed with 
consummate taste. 



UNSEEN YET SEEN .13 



UNSEEN YET SEEN 



I have read somewhere in a thoughtful book, 

Of an old cathedral over the sea 
(A wonder of art, whose every nook 
Is full of a charming mystery), 
5 That up, high up, on the topmost point 
Of roof and tower and belfry gray, 
Which the gracious summer dews anoint, 

And the birds frequent in their airy way: 
There are marvels of sculpture, rare and fine, 
10 Flower and fruit and trailing vine; 
And lovely angels with folded wings, 
Cut from the stone, like living things; 
And pure Madonnas, and saints at prayer, 
With reverent heads and flowing hair, — 
15 Colossal figures, by height diminished, 
With every lineament finely finished. 
Yet all this delicate tracery 

Was not for the eyes of mortal made, 
For none but God and His angels see 
20 The marvelous sculpture there displayed. 

Who was the artist whose chisel wrought 
Into exquisite work such exquisite thought? 
Why did he labor for years and years, 
Through days of travailing, nights of tears, 



-14 ELEANOR C. DONNELLY 

25 Under the' Stars and under the moon, 
Dreaming; designing, at morn and noon, 
To work these wonders in wood and stone, 
Which God and His angels see alone? 

God and His angels! Behold the key 
30 To this strange, unworldly mystery! 
That grand old artist, mounted on high, 

Like an eagle perched in his eyrie lonely, 
Working with hand and heart and eye, 

Was working for God and His angels only. 

35 No mean, self-conscious motive stirred 

The tranquil depths of his patient heart; 
But praise or censure, alike unheard, 

In his chaste communings had no part. 

Far, far below him the world was spread, 

40 Like a painted picture, small and dim; 

And the voice of creatures, the rush and tread 

Of the mighty millions, were lost on him. 
While the skies bent over him, blue and broad, 
So full of the awful, unseen God, — 
i 45 Heaven seemed so near, and earth so far, 
No selfish thought could his labor mar. 

Ah! what a lovely moral lies 
Hid (like the delicate tracery 
On roof ! and tower and gray belfry 
50 Of the old cathedral over the sea) 

In its' storied' legend's dim disguise! 



UNSEEN YET SEEN 15 

'Tis worth an infinite treasure to know 

(Whatever beside should be unknown) 
Hew utterly false and mean we grow, 
55 When we work for the eyes of men alone. 
How blind and aching our sight becomes, 
With the glare of glory such works may win 
us, 
While a selfish purpose narrows and numbs 
All that is noble and fresh within us. 
60 'Tis only when self is dead and gone, 

And our souls from the mists of passion free. 
That the angels of God come in and crown 
Our labors with immortality. 

O Artists! who work with pencil or pen, 
65 With chisel or brush, for the praise of men, — 

When you fold your hands at the twilight's 
close, 

And muse in your darkened studios, 

Do you never consider, once for all, 

How that other and deeper night must fall, 
70 When earth and the things thereof shall be 

Lost, like a dream, in Eternity? 

When, shrinking and startled, — with soul laid 
bare, — 

The creature shall meet the Creator there, 

And learn at the foot of the Great White 
Throne 
75 (A truth which should never have been un- 
known) 

That nothing avails us under the sun, 



16, ELEANOR C. DONNELLY 

In word or in work* save that which is done 
For the honor and glory of God alone? 

Oh, blessed indeed are the pure of heart! 
80 For they shall see God in their glorious art; 
And joyous shall be (though the world wax 

dim) 
If none shall behold them save Him, save Him! 
And they are the sculptors whose works shall 
last, 
Whose names shall shine as the stars on high, 
85 When deep in the dust of a ruined past 
The labors of selfish souls shall lie. 

Brothers! who work with pencil or pen, 
With chisel or brush, for the praise of men, 

Whate'er ye design, whatever ye do, 
90 Seek first the kingdom of God, — and then 
All else shall be graciously added to you. 

And the moral is yours, which was sent to me 

From the old cathedral over the sea. 



THE LEGEND OF THE ROBES 17 

THE LEGEND OF THE ROBES 



The "Legend of the Robes" commemorates an 
event in the life of Saint Elizabeth, the Landgra- 
vine of Thuringia in the early part 
Source. of the 13th century. The saint was 
renowned for her love of the poor 
for whose relief she had deprived herself of many 
luxuries befitting her social position. Clad in 
simplest attire, she spent much of her time spin- 
ning for them, and in this occupation she was one 
day surprised by her husband's announcement of 
ambassadors from the court of her father, the King 
of Hungary. Louis desired her not to receive 
them in the homely apparel she usually wore, but 
Elizabeth prevailed on him to suffer it and God 
was pleased to give so extraordinary a loveliness 
to her person that her husband and the ambassa- 
dors alike were amazed at the majesty and beauty 
of her appearance. This marvellous happening is 
Miss Donnelly's subject, and in a series of delight- 
fully colored pictures she shows 
Purpose. forth the beauty of charity and the 
recompense accorded the practice of 
this virtue; how, even in this life, God repays with 



18 ELEANOR C. DONNELLY 

the hundredfold what has been given to Him and 
to His poor; how He will reward by miracle, if need 
be, the relinquishment of all things for His sake. 
The author relates the Legend in the neat style 
using figures sparingly, yet exhibit- 
Style, ing the soul of a musician in her har- 
monious selection and combination 
of words. Adjectives in particular are numerous, 
yet the reader experiences no feeling of "wordi- 
ness," for each qualifying element seems like a 
stroke in careful pen-etching — requisite to make 
the picture complete. The use of compound ex- 
pressions, such as "Christ-like," "low-drooping," 
"heavy-bearded," adds a peculiar charm to the 
style. The figure occurring most frequently is 
the simile. 

The poem is written in blank verse, that is, 
meter without rhyme. The usual 
Meter. form of blank verse is iambic pen- 
tameter, the form prevailing in this 
selection. 



THE LEGEND OF THE ROBES 19 



THE LEGEND OF THE ROBES 



Elizabeth (by God's dear grace the spouse 

Of Louis of Thuringia), sat one day 

In the fair quiet of her latticed room. 

With Ysentrude — of all her maids best loved — 

5 To bear her company. 

The pure spring light 
Crept through the ancient casement, and 

illumed 
The noble beauty of the lady's face, 
The chaste decorum of her simple robe, 

10 Scarce richer than the beggar's russet cloak 
On which, with persevering love, she wrought; 
Singing the while, with summer in her voice, 
Sweet snatches of an old Hungarian hymn, 
To which maid Ysentrude held meek refrain, 

15 With sweeping lashes and low-drooping veil. 
A step pulsed through the hall, — a manly step, — 
And in the doorway, framed (a picture fair,) 
Duke Louis stood, and smiled upon his spouse, 
A tender smile, yet troubled. 

20 Up she rose, 

The fond Elizabeth, and coming, basked 
In the mild lustre of his anxious eye; 
The Christ-like pity on her girlish lip 
Melting and mixing in her smile of joy; 



20 ELEANOR C. DONNELLY 

25 While throbbing heart sent up its purest rose 
To tremble through the olive of her cheek, 
And bid him welcome there. 

"What ill has chanced; 
Dear love, to thee or thine, that this calm face. 

30 So sad a mask should wear?" The lady asked. 
"O spouse Elizabeth! we are undone! 
Four envoys from thy father's court, below, 
Come to crave audience with thy gentle self, 
Who must respect their plea. What wilt thou 
do? 

35 Thy love of God, and of his precious poor, 
Has so inflamed thy generous soul with zeal, 
That gems and silken robes are quite forsworn, 
And all the pomp of ducal dignity 
Sunk in obscure retreat. I do not chide 

40 Thee, love, fair-blushing, like the morning sky! 
Thy rosy charms, to me, can deck thee out 
In raiment comelier than a queen's attire. 
But if thou givest audience to these men, 
Clad, as thou art, in this poor woolen robe, 

45 They, knowing not the motive of thy deeds, 
(That charity which gives, forgetting self,) 
Will straightway swell with scandal and depart, 
Burning to bruit what gossips burn to hear, 
That Louis of Thuringia keeps his bride 

50 In robes no better than a peasant dame's!" 
With ear attentive to his tender words, 
With kindling eye uplifted to his own, 
Elizabeth was mute; but now her hand 



THE LEGEND OF THE ROBES 21 

Fell lightly as a snow-flake on his arm, 

55 And through the silence came her silver voice: 
" Fret not thy soul, my Louis, with these cares, 
But trust in God. Our noble guests are worn 
And weary with long travel; do thou go 
And bid them welcome to Thuringia's halls 

60 Most generous. And when the feast is spread, 
I shall attend you there!" 

Her glorious smile, 
Her pure uplifted brow, o'erawed him, 
And he went away communing with her words. 

65 — Then knelt the Lady 'Liza where she stood, 
Her little hands enclasped, her holy face 
Brilliant with some strange lustre as she prayed : 
"O Lord! My Crucified! for Thy pure love 
I have despoiled myself of royal robes, 

70 And put away the vanity of gems! 

Listen, Best Beloved! in Thy strength, 
(Pure as the fleece and generous as the light) 
Behold me in my poverty and need, 
And make me pleasing in mine husband's eyes!" 

75 Circled with veiled maidens, down she went, 
Transfigured with the passion of her prayer; 
Her soft, slow step is herald to her coming, 
And silence chains the lords who grace the 

feast. 
What 'mazement leaps to light their sluggish 
eyes, 

80 What wonder parts their heavy-bearded lips! 
While Louis folds his arms upon his chest, 



22 h ELEANOR C. DONNELLY 

Lifts his proud head, and smiles upon his bride. 
Her robe of silken sheen flowed o'er her feet 
Sweeping the marble floor in waves of light; 
85 Clasped at her throat, the yielding mantle 
sprung 
To flood her graceful shoulders with its folds 
Of velvet, azure as a summer's sky. 
And, from her head (confined with diamond pins 
Which lit her locks as stars the midnight gloom) , 
90 A fleecy veil fell, shimmering like spray, 

Over her blushing cheeks, her pure, clear eyes! 
"Sweet wife!" Duke Louis said, the while her 

hand 
Lay, like a pearl, within his manly palm: — 
"Sweet wife!" ('twas but a whisper, yet she 
heard,) 
95 "Thy face, methinks, doth sparkle like the sun, 
And thy rich raiment — ? ' ' 

Lady 'Liza bowed 
Her forehead, like a lily touched with sleep, 
And while the color varied in her cheeks, 
100 "Great is our God," she said, "and wondrous 
are His ways." 



LITTLE VESTRY AND THE WHITE SCAPULAR 23 



LITTLE VESTRY AND THE WHITE 
SCAPULAR 



[The crucial test of that inimitable quality, simplicity, is the 
power, the " knack," as Steele puts it, of story-telling. "I 
have often thought," says the same English humorist, " that 
a story-teller is born, as well as a poet." The same may 
be said of a story-writer, particularly of a child story-writer. 
In this amiable role, Lamb, Dickens, Kingsley, and Hawthorne 
have won warmest praise. Here, too, our own author has 
been singularly successful. As an example of the charming 
grace with which Miss Donnelly holds the interest of her host 
of juvenile readers, we quote the following pathetic history 
of a little boot-black, from her collection, " Amy's Music Box 
and Other Little Stories and Verses."] 

He had "shined" his last pair of boots, just 
before he turned the corner of an up-town street; 
and then he came upon a big church with a cross 
upon its steeple. 

It was a warm September night, and the doors 
were wide open. A flood of light poured from the 
brilliant altars and many voices were chanting a 
sweet Latin hymn. 

He was a queer, wise-looking little fellow, this 
brown-faced, grave-eyed Italian boot-black. "Ves- 
try" was the street contraction of his full, musical 
name, Vito Vestrizzio; and the boys said it just 
suited him — he was so fond of serving Mass at the 
Italian Church down town. 

Far off in beautiful Genoa his good old grand- 



24 ELEANOR C. DONNELLY 

mother (who had reared him) had taught him his 
prayers and Catechism, and trained him thor- 
oughly in his religion. She had often said to him: 
"Never pass a church, figlio mio, without going in 
to say one Ave Maria that you may die in the 
grace of God." 

He remembered it now, and went in. 

The church was full of people, and Vestry, slip- 
ping into a back pew, laid his "kit" on the floor. 
By this time a priest was preaching before a sheine, 
where the picture of a lovely Madonna and Child 
was set among banks of lilies and blazing tapers. 

Vestry could not understand all he said, but he 
caught enough to know that he was urging every- 
body to love Mary, to seek her counsel, to imitate 
her virtues. 

When the sermon was over, men, women and 
-children flocked to the altar rail, and the priest 
began to give each one a little white Scapular. 
Vestry longed to go up and get one with the rest, 
but felt afraid to venture. 

And then a wonderful thing happened. 

A beautiful young lady near him handed him a 
Scapular and, smiling, motioned him to approach 
the altar. 

She wore a white gown, and her sweet, rosy face 



LITTLE VESTRY AND THE WHITE SCAPULAR 25 

was shaded by a white leghorn hat, with snowy 
plumes. Vestry thought she must be an angel, 
and silently obeyed her. 

In a few moments he was kneeling before the 
lovely shrine, and the priest had thrown the rib- 
bons of the White Scapular around his neck. 

The poor little boot-black felt strangely peaceful 
and happy. He even shed some tears of joy, 
thinking tenderly of the dear old grandmother at 
home. He would write to her. She would be 
glad to know that her ragazinno had kept himself 
from the low vices of the streets and was wearing 
Our Lady's Scapular. 

Was it an hour afterwards (or was it only ten 
minutes?) that he was crossing the street on his 
way down town? 

What a crowd was gathering! A voice cried 
"Fire!" — and a patrol wagon dashed with furious 
speed around a corner. 

The bystanders heard a shrill scream of agony, 
and with blanched faces rushed to lift from the 
cobble stones a poor, crushed, bleeding little 
shape, with a boot-black's "kit" slung across its 
shoulders, and a small white something fluttering 
on its breast. 



26 ELEANOR C. DONNELLY 

There was a priest in the accident ward of the 
State Hospital. He had just given the Last Sacra- 
ments to a dying patrolman; and, as he passed to 
the door between a row of beds, he saw on one of 
them a little ghastly chap, so blood-stained and 
bandaged, that he looked like a small wounded 
soldier. 

The priest stooped and read on the chart at the 
bed-head: " Vestry, a boot-black, aged 12; com- 
pound fracture of, etc., etc.; — contusion of, etc., etc. 
Supposed to be mulatto. Residence , unknown." 

From the pillow a queer little foreign face 
stared up at him, old-fashioned as a brownie's — 
but with a soft reverence in the velvety eyes. 

Could the child be a Catholic? As if in answer 
to the mental query, the poor little lad thrust his 
one sound hand into his bosom and drew trem- 
blingly forth — a White Scapular of Our Lady of 
Good Counsel! 

"Madonna mial" he whispered feebly. 

The priest fell on his knees beside him. He had 
studied in Rome, and spoke Italian fluently. Oh! 
the radiant rapture of the little face when Vestry 
heard the music of his own tongue and breathed 
forth his confession in the embrace of those strong, 
but tender arms. 



LITTLE VESTRY AND THE WHITE SCAPULAR 27 

The absolution was pronounced — the Holy 
Viaticum administered; and through it all the 
little Genoese held fast to his Scapular. 

"It is a piece of Blessed Mother's mantle," he 
answered quaintly, when the priest asked him 
why he loved it; and then, "Is Madonna Mary 
very beautiful? And shall I see her soon, Padre 
mio? Ah! yes," he sighed, wandering a little: 
"I am thy child, good Mother! I shall always 
wear thy Scapular" — (making an effort to lift it 
to his lips) — "take me — ." 

There was an odd catch in the breath, his head 
drooped and a gray shadow crossed his face. 

"Died of shock," said a passing surgeon. 

But there was a tear on the priest's cheek as he 
closed the boy's wide-open lids over that look of 
admiration and awe as at the sudden sight of some- 
thing astoundingly new and lovely. 

"His eyes have seen the Queen in her beauty!" 
he murmured; and then reverently laid back the 
little White Scapular upon the dead child's breast. 



28 ELEANOR C. DONNELLY 



VISION OF THE MONK GABRIEL 



'Tis the soft twilight. Round the shining fender, 
Two at my feet and one upon my knee, 
Dreamy-eyed Elsie, bright-lipped Isabel, 
And thou, my golden-headed Raphael, 
My fairy, small and slender, 

Listen to what befell 

Monk Gabriel, 
In the old ages ripe with mystery, — 
Listen, my darlings, to the legend tender. 

A bearded man, with grave but gentle look, 

His silence sweet with sounds 

With which the simple-hearted spring abounds: 

Lowing of cattle from the abbey grounds, 
Chirping of insect and the building rook, 

Mingled like murmurs of a dreaming shell; 
Quaint tracery of bird and branch and brook 
Flitting across the pages of his book, 
Until the very words a freshness took, — 
Deep in his cell 
Sate the monk Gabriel. 

In his book he read 
The words of the Master to His dear ones said: 



VISION OF THE MONK GABRIEL 29> 

"A little while and ye 

Shall see, 
Shall gaze on Me; 
A little while again 
Ye shall not see Me then." 

"A little while!" 
The monk looked up, a smile 
Making his visage brilliant, liquid-eyed: 

"O Thou, who gracious art 

Unto the poor of heart, 
"O blessed Christ!" he cried, 

Great is the misery 

Of mine iniquity; 

But would / now might see, 

Might feast on Thee!" 

The blood with sudden start, 

Nigh rent his veins apart — 
(0 condescension of the Crucified) 

In all the brilliancy 
Of His humanity 

The Christ stood by his side! 

Pure as the early lily was His skin; 

His cheek outblushed the rose, 

His lips, the glows 

Of autumn sunset on eternal snows. 

And His deep eyes within 
Such nameless beauties, wondrous glories, dwelt, 
The monk in speechless adoration knelt. 



30 ELEANOR C DONNELLY 

In each fair hand, in each fair foot there shone 
The peerless stars He took from Calvary: 
Around His brow in tenderest lucency 

The thorn-marks lingered like the flush of dawn, 

And from the opening in His side there rilled 

A light, so dazzling that the room was filled 
With heaven; and, transfigured in his place, — 

His very breathing stilled, — 
The friar held his robe before his face, 
And heard the angels singing! 

'Twas but a moment; then upon the spell 
Of that sweet Presence, lo, a something broke; 
A something, trembling, in the belfry woke, 
A shower of metal music flinging 

O'er wold and moat, o'er park and lake and fell ; 

And, through the open window of the cell, 
In silver chimes came ringing. 

It was the bell 
Calling the monk Gabriel 
Unto his daily task, 

To feed the paupers at the abbey gate. 
No respite did he ask 

Nor for a second summons idly wait, 
But rose up, saying in his humble way, 
"Fain would I stay, 
O Lord, and feast alway 
Upon the honeyed sweetness of Thy beauty. 
But 'tis Thy will not mine, I must obey; 
Help me to do my duty!" 



VISION OF THE MONK GABRIEL 31 

The while the Vision smiled, 

The monk went forth light-hearted as a child. 

An hour thence his duty nobly done, 

Back to his cell he came. 
Unasked, unsought, lo, his reward was won! 
Rafters and walls and floor were yet aflame 
With all the matchless glory of that Sun, 
And in the centre stood the Blessed One, 

(Praised be His holy name!) 
Who for our sakes our crosses made His own 

And bore the weight of shame. 
Down on the threshold fell 
Monk Gabriel, 

His forehead pressed upon the floor of clay; 
And, while in deep humility he lay, 
Tears raining from his happy eyes away, 
"Whence is this favor, Lord?" he strove to say. 

The Vision only said 

Lifting His shining head: 
"If thou hadst stayed, O son, / must have fled." 



32 ELEANOR C. DONNELLY 



VISION OF THE WOUNDS 



Two Hands have haunted me for days, 

Two Hands of slender shape: — 
All crushed and torn, as in the press 

Is bruised the purple grape; 
At work or meals, at prayer or play, 

Those mangled Palms I see; 
And a plaintive voice keeps whispering, 

"These Hands were pierced for thee." 

For me, sweet Lord, for me? 
"Yea, even so, ungrateful thing, 

These Hands were pierced for thee!" 

Thro' toils and dangers pressing on 

As thro' a fiery flood, 
Two slender Feet beside my own 

Mark every step with blood. 
The swollen veins so rent with nails, 

It breaks my heart to see ; 
While the same sad voice cries out afresh 

"These Feet were pierced for thee." 

For me, dear Christ, for me? 
"Yea, even so, rebellious flesh, 

These Feet were pierced for thee!" 



VISION OF THE WOUNDS 33 

As on they journey to the close, 

Those wounded Feet and mine, 
Distincter still the Vision grows, 

And more and more divine; 
For in my Guide's wide-open Side, 

The cloven Heart I see, 
And the tender voice is moved to moan: 

"This Heart was pierced for thee." 
For me, great God, for me? 
"Yea, enter in, My love, Mine own, 

This Heart was pierced for thee!" 



34 ELEANOR C. DONNELLY 



SIR VERITAS AND THE KING 



The courtiers gathered round the throne 

and plied the King with praises: 
"Wiser art thou than Solomon!" cried 

they in fulsome phrases: 
"Greater than David in the prime of all his regal 

glory; 
Braver than he of the feudal time, renown'd in 

song and story: 
"Thy manly beauty is the theme that thrills the 

bards with pleasure; 
The wealth of Ind melts like a dream before thy 

golden treasure!" 

So, link by link, they forged a chain to bind their 

royal master 
Unto their ends. A cloud of pain, a foreshade of 

disaster 
Loomed darkly on the monarch's front. He 

turned in sudden anger 
To one who, silent, bore the brunt of all that 

courtly clangor: 
Sir Veritas, his oldest knight, his bravest and his 

wisest : 
"We pray thee, sirrah, speak outright the scorn 

thou ill disguisest ! 



SIR VERITAS AND THE KING 35 

"Silent may fare that tongue of thine, but mute 

are not these glances 
Which smite our heart with force condign, like 

stroke of poison'd lances! 
"Speak, Veritas!" The courtier old stood forth 

before his fellows, 
With brow as stern, with mien as bold, as dauntless 

as Othello's: 
"I cannot join those sycophants in lauding thee, 

my sire; 
For indignation's burning lance hath smote me 

with its fire. 
"If thou wert wise as Solomon, and greater far 

than David, 
Or hadst thou, lion-hearted one, our cause from 

ruin saved, 
"Right gladly would I add my meed to swell thy 

tide of glory, 
To bid thee live, in word and deed, renown'd in 

song and story; 
"But hear, O King! the bitter truth from tongue 

that ne'er deceived thee — 
Thou art a tyrant without ruth — our wrongs have 

never grieved thee ! 
"Thy people's miseries have ne'er divorced thee 

from thy treasures, 
Their hunger and their gaunt despair have never 

dash'd thy pleasures! 
"They groaned beneath their weary load; thine 

ears have hearkened gaily. 



36 ELEANOR C. DONNELLY 

The ocean of their tears hath flowed around thy 

footstool daily; 
"But thou wert blind, as well as deaf; on Self 

thy thoughts were centred; 
Lo! to thy closet, hope-bereft, Nemesis now hath 

entered!" 
Out leaped the great soul of the King, from eyes 

with wonder flaming; 
He glared around upon that ring of serfs, their 

falsehood shaming; 
Glared fiercely on those parasites who spake him 

but to flatter; 
"Come Veritas — reform these knights — whose 

coward teeth do chatter! 
"Reform them in thy valiant school, wherein are 

fashioned heroes; 
Who speaks of fame (if knave or fool), confounds 

our fame with Nero's! 
"O, Veritas!" — (pride at an end — the strong 

man's tears fast streaming) — 
"Praise God for one just, fearless friend, above 

all venal scheming! 
"Our premier be thou, henceforth, with wisdom 

crown'd, and beauty, 
Who dared to tell thy King the truth, and nerve 

him to his dutv." 



NOTES AND QUESTIONS 37 



NOTES AND QUESTIONS 

Unseen Yet Seen 

1. Sketch the life of Eleanor C. Donnelly. 

2. Name her principal works. 

3. What poem of hers is thought to have suggested a 
theme to Longfellow? 

4. How have the two poems been compared? 

5. Read these poems and tell what you think about them. 
G. Quote an estimate of Miss Donnelly and her works. 

7. "Unseen Yet Seen," is a descriptive narrative poem. 

A narrative poem is one that relates a story or an event, as Long- 
fellow's "Evangeline,' and "Tales of a Wayside Inn," and Scott's 
"Lady of the Lake." When description is made more prominent than 
narration, the poem is styled a descriptive narrative; for example, 
"Whittier's "Snow-Bound," Goldsmith's "Deserted Village," and 
Burns's "Cotter's Saturday Night." 

8. Describe the style of the poem, "Unseen Yet Seen;" 
its meter and rhyme. 

9. What is the lesson the writer wishes to teach? 

10. Quote the lines that convey her message. 

11. The keynote of a poem is the idea that predominates 
the whole, the tone that rings through every strain. 

Find the keynote of this poem. 

12. Give the meaning and derivation of the word "ca- 
thedral. " 

13. This " old cathedral " was most probably Gothic. 

What then were its characteristic features? 

Gothic Art is that which was invented and used by the people of 
Northern Europe, who overthrew the Roman Empire. The noticeable 
features of Gothic Architecture are the prominent towers, the deep 



38 ELEANOR G. DONNELLY 

sculptured doorways, the rose windows, the high-pointed arches, and 
the external buttresses. The medieval cathedrals were adorned with 
finely-wrought figure sculpture and rich stained glass. 

14. What is sculpture? 

15. Give a brief account of the greatest Greek sculptor; 
of three famous Italian sculptors. (See Biographical Notes.) 

16. Give the derivation of the word " Madonna. " 

17. What is meant by " wrought into exquisite work such 
exquisite thought?" 

18. Note the figure of diction in line 22. 

19. Who is an artist? 

20. Name the fine arts. What are the industrial and 
liberal arts? 

The fine arts are those which seek expression through beautiful 
modes, such as architecture, sculpture, painting, engraving, poetry, 
music, and dancing. The useful, mechanical, or industrial arts are those 
in which the hands and body are concerned more than the mind; as in 
making clothes and utensils. They are called trades. The liberal arts 
include the sciences, philosophy, history, etc' which compose the 
course of academical or collegiate education. 

21. What are " wonders in wood and stone. "? 

22. Define " eyrie. " Why "lonely?" 

23. Explain " working with hand and heart and eye. " 

24. What is meant by " that other and deeper night?" By 
the "Great White Throne?" 

25. Give a word picture of the third and fourth stanzas. 

26. Cite two examples of polysyndeton in the first stanza. 

27. What stanza forms a beautiful apostrophe? 

28. Classify the figures that occur in lines 7, 12, 14, 32, 
36, 40, 57, 61, 69, 71, 84, 85. 

29. Point out the alliterations of the poem. 

30. What scriptural quotation is the basis of fines 79 and 
80? Of fines 90 and 91? 



NOTES AND QUESTIONS 39 

31. Develop the contrast found in lines 83-86. 

32. Compare the fourth stanza of this poem with these 
tines from Longfellow's " Builders : " 

In the elder days of Art, 

Builders wrought with greatest care, 

Each minute and unseen part. 
For the gods see everywhere. 



BIOGRAPHICAL NOTES 

The most celebrated of ancient sculptors was Phidias, who 
lived in Greece about four hundred years before the Christian 
era. He was designated by Pliny as " before all, Phidias 
the Athenian." His great work was the ornamentation of 
the Parthenon with magnificent sculptures, in particular the 
massive statue of the goddess Athena, within the temple. 
Tlus statue was forty feet high; the face, neck, arms, hands, 
and feet were of ivory; the drapery of pure gold. 

Prominent among modern sculptors are the Italian artists, 
Ghiberti, della Robbia, and Michael Angelo. 

Lorenzo Ghiberti (1378-1455), is immortalized by the 
bronze doors of the baptistry of Florence, which cost him 
forty years of labor. Michael Angelo said they were worthy 
of being the gates of Paradise. 

A sculptor of an entirely different kind was Luca della 
Robbia (1400-1463). He seldom carved a statue. His 
subjects were designed on a flat surface, and then from this, 
the figures were raised in marble, stone, or plaster, forming 
what is called bas-relief. Most of his work was done in 
clay so hardened and enamelled — by a process now un- 
known — as to withstand the ravages of time. It has been 
his secret held by himself, his nephew, Andrea, and said that 
the sons of the latter, was inscribed on parchment and 
concealed in some one of the figures. He is best known by 
his " Singing Boys. " 



40 ELEANOR C. DONNELLY 

Great as is Michael Antgelo (1474-1564), as a painter, he 
was scarcely less renowned as a sculptor. His most re- 
markable work in sculpture is the Julian sepulchre, com- 
pleted after forty years of toil. The tomb is very small in 
comparison with the vast dimensions ordered by Tope 
Julius II, and in passing through the Church of " St. Peter in 
Chains," one would give it no more than a glance were it 
not for the marvelous statue of " Moses, " which adorns the 
monument, and which is undoubtedly Michael Angelo's 
masterpiece in sculpture. 

Distinguished among the sculptors of the present time are 
the American, Karl Bitter, Chief Director of Sculpture at 
the Louisiana Purchase Exposition, 1904, and Augustus St. 
Gaudens, an Irish sculptor in America, whose work was 
brought into prominence at the Columbian Exposition in 
Chicago, in 1893. 



SUGGESTIVE PAPERS 

" Unseen Yet Seen, " and <; The Builders. " (A Comparative 
Study.) 

" The Old Sculptor in the Tower. " (A Pen Picture.) 

" Sermons in Stones. " 

" Wonders in Wood and Stone. " 

" Michael Angelo. " 

" Marvels of Gothic Art. " 



NOTES AND QUESTIONS 41 

NOTES AND QUESTIONS 
The Legend of the Robes 

1. When did Saint Elizabeth live? 

A famous life of the Saint was written by Montalembert (1S10-1870). 
a. French author. 

2. What event in Saint Elizabeth's life forms the sub- 
ject matter of this poem? 

3. Narrate another familiar legend of the Saint. 

Mrs. Frances Hodgson Burnett has written a very pretty modern 
story based on this event, "Little Saint Elizabeth." 

4. Give the definition and derivation of "legend." 

5. Classification of " The Legend of the Robes." 

This is a metrical tale, a species of narrative poetry. A metrical tale 
is a short story told in verse. English literature abounds insuch poems; 
for instance, Longfellow's "Wreck of the Hesperus - ' and "Tales of a 
Wayside Inn;" Tennyson's "Enoch Aiden;" Chaucer's "Canterbury 
Tales;" "The Angel's Story," by Adelaide Procter; "The Ordeal of 
Queen Emma." by Harriet M. Skidmore (Marie); and "Borgia's Vow," 
by Miss Donnelly. 

G. Locate Hungary; Thuringia. 

7. Politically, is Hungary now what it was in St. Eliza- 
beth's time? 

8. Name and define the prevailing style of this poem. 

9. Select all the compound adjectives. 

10. What figure occurs most frequently? 

11. Cite eight examples of this figure. 

12. Classify the following figures: 

(a) " Singing the while with summer in her voice." 
(6) ''That this calm face so sad a mask should 
wear." 



42 ELEANOR C DONNELLY. 

(c) "Throbbing heart sent up its purest rose 
To tremble through the olive of her cheek." 

(d) " Silver voice." 

(e) "Her soft slow step is herald to her coming." 
(/) "Silence chains the lords." 

13. In what verse and meter is the poem written? 

14. Write the scansion of lines 6-11, 31-39, 56-G1. 

15. Select and memorize three apt quotations. 

16. Find the keynote of the poem. 



SUGGESTIONS FOR THEME WORK 43 



SUGGESTIONS FOR THEME WORK 

Sketch of the Life of St. Elizabeth. 

Legends of St. Elizabeth. 

Review of the Poem. 

The Sound Picture of the Poem. 

Pen Pictures — The Latticed Room, lines 1- 64. 

The Prayer of Faith " G5- 74. 

The Banquet Scene, " 75-100. 
A Portrait of St. Elizabeth. 

Read three of the "Tales of a Wayside Inn" and relate 
each story in your own words. 



44 ELEANOR C. DONNELLY 

QUESTIONS AND NOTES 
Little Vestry and the White Scapular 

1. What Feast was being celebrated on this occasion? 

2. Where is Genoa? 

3. Upon what does the fame of this city rest? 

4. "He remembered it now, and went in." What les- 
son is taught in these lines? 

5. What can we learn from the action of the beautiful 
young lady? 

6. "She would be glad to know that her ragazinno had 
kept himself from the low vices of the streets." This passage 
brings to mind many beautiful stories of the flowers of virtue 
that have blossomed in an atmosphere of vice. Suggestive — 
"How He Kept It White," by Father Finn; "The Circus 
Rider's Daughter," by F. Brackel; examples from the Bible 
and history. 

7. What are the derivation and meaning of the word, 
scapular? 

S. Give the history of the scapular. 

9. Of how many kinds of scapulars do you know? 

10. Where is the Shrine of Our Lady of Good Counsel? 

11. What legend is associated with the Shrine? 

12. When and by whom was the invocation, "Mother of 
Good Counsel, Pray for us!" inserted in the Litany of Lo- 
retto? 

13. How many different lessons can be gleaned from this 
one brief tale? 

14. Tell the story of " Vestry and the White Scapular." 



MEMORY GEMS 45 

MEMORY GEMS 

QUOTATIONS FROM MISS DONNELLY 

The average woman can have but one mission, one king- 
dom — that of home. 

— Home, Woman's Sj>here. 

Mary's " Magnificat" proves her the first of Christian poets, 

the wisest of Christian seers. Yet she sang her prophetic 

song but once, and then only in the privacy of Zacharv's 

home — then only to glorify her God and debase His little 

handmaid. 

— Ibid. 

"Praise God for one just, fearless friend, above all venal 
scheming." 

— Sir Veritas and the King. 

A bitter personal experience, the agent of a divine will, 
and the instrument of a divine grace. 

— .4 Lost Prima Donna. 

High days and holidays bring with them ever a dangerous 
atmosphere of temptation. 

— .1 Funny Story of a Vocation. 

The poor rejoice when they hear her name, 
The, babes, at her voice, like flow'rets bloom; 

She is eyes to the blind, and feet to the lame, 
And a star-like presence in hours of gloom; 

For she follows the first of the golden laws: 
" Forget thyself in thy Master's cause." 

— A Girl Worth Knowing. 



46 ELEANOR C. DONNELLY 

The vexed question of Catholic education finds its best 
solution at the fireside. The intellect and heart of the Cath- 
olic child must be opened, moulded, developed by God's first 
of teachers, first of preachers, at the altar of the hearthstone. 

— Home, Woman's Sphere. 

And e'en if you drop down unheeded, 

What matter? God's ways are the best, — 

You have poured out your life where 'twas needed, 
And He will take care of the rest. 

— From Poems of the Civil War. 

There is a little picture framed in sweet forget-me-nots, 
Which fills within my memory the cosiest of spots; 
It nestles where the sunlight comes, the earliest and the last; 
It is the record of a Day, the dearest in the past. 

— A Red-Letter Day. 

Ah, it is hard to hold our souls in peace, 

To keep our spirits sunny, while these things 
Haunt us like evil birds, and never cease 

Making the sunshine dusky with their wings! 
But there is One who understands it all: 

The Wounded Heart that 'neath the olive-trees, 
And on the Mount, in bitterness let fall 

The secret, of Its own vast agonies. 
And we may trust our faults and failures, too, 

Unto His love, as humble children should; 
Content that if all others misconstrue, 

By Him, at least, our hearts are understood. 

— Misunderstandings. 

Look back no more, look back no more, 
To the Past with its pleasures, false and fair; 



MEMORY GEMS 47 

Beyond with the Blessed we shall find 
All that we left, with woe, behind: 

Here, grief and shame; peace, glory, therel 
Lift up your crosses, and leap aboard; 

Sing, till the stars shine out above; 
Over the River of Suffering, 
Princes, we sail to our Father-King, 

In His own safe Bark of eternal Love! 

— Crossing the Royal River. 

Blessed be God! we may, ou r homely duties, 
Our commonplace employments, so refine, — 

That life will blossom with a thousand beauties, 
And swell the chorus with a song divine! 

— The Apostolate of the Weak. 

Life's grandest labors, spiritless and cold, 
Are but as dust if not ordained by Thee; 

Love's meanest duties turn to purest gold, 
Under the touch of Thine all-wise decree. 
— Prayer of the Faithful Soul. 



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readily supplied by the scholars; 112 pages, illustrated with portrait of 
Shakespeare, enameled covers, cloth back, 15 cents; in boards, 20 cents. 

80. Nine Selections from the Sketch Book. By Washington Irving, 160 pages, en- 
ameled covers, cloth back, with a portrait, and edited with an introduction 
and notes and a suggested outline of study of Rip Van Winkle, Legend of 
Sleepy Hollow, and Westminster Abbey; paragraphs numbered. A supple- 
mentary reader for eighth grade, or as a study of Irving for first year in High 
Schools, 15 cents. 

31. Irving's Sketch Book. 169 pages, same as No. 30, boards, 29 cents. 

32. Hawthorne and Browning. Same as No. 26, boards, 20 cents. 

33. Milton and Addison. Full cloth bound, side stamp, 199 pages, containing Macau- 

lay's Essays on Milton and Addison, furnished in Lakeside Series Nos. 20 and 
22. 30 cents. 
31. Webster, Lincoln, Goldsmith, Tennyson, and Hawthorne. Same as No. 27, boards; 
20 cents. 

35. Macaulay's Essay and Milton's Poems. Full cloth bound, 144 pages, containing 

Macaulay's Essay on Milton, and Milton's Minor Poems, furnished in Lake- 
side Series Nos. 13 and 20, 30 cents. 

36. King Lear. Enameled covers, cloth back, contains a sketch of Shakespeare, "His 

l'eople. His Theater," with a description of the drama; also a short list of 
reference books, and the dates of the publication of Shakespeare's works. 
In the back, a series of character studies on the art of Shakespeare, with 
28 pages of questions on the leading characters, prepared by Ella A. Shea, 
of the Covington, Ky., High School. The volume is illustrated, and con- 
tains references and notes, prepared by Mr. C. L. Hooper, of the North-West 
Division High School, Chicago, 111., price, 15 cents. 

37. King Lear. Same as No. 36, cloth binding, 25 cents. 



SEP 6 1904 





trait. 



38 The Deserted Village, Goldsmith. 24 paj LIBRARY OF CONGRESS 

introduction, the poem, and a serle 
Kavana, Medill School, Chicago, 111. 

39. Enoch Arden, Tennyson. 42 pages, price 

tion, the poem, and a series of stuc 
School, Chicago. 111. 

40. The Great Stone Face, Hawthorne . 48 paj 

skinner" 011 ' the story * and " a series ' Y 016 211 831 6 • * ; 

41. The Snow Image, Hawthorne. 48 pages, price five cents, containing portrait in- 

troduction, the story, and a series of questions, 

42. The King of the Golden River, Ruskin. Price five cents, containing introduction 

and the story. * 

43. Pied Piper of Hamelin. and other Poems by Browning. 48 pages, price five cents 

containing portrait, introduction, several of the poems, and very carefully 
edited notes by C. W. French, Hyde Park High School, Chicago, 111. 

44. The Great Carbuncle. 38 pages, price five cents, containing portrait, introduc- 

tion, the story, and a series of studies and questions, arranged by Miss 
Kavana. 



45. Evangeline, by Longfellow. 64 pages, portrait, introduction, sketch of American 
literature, biographical sketch of Longfellow, with chronological list of 
leading poems, historical introduction upon Acadia. The poem is complete, 
annotated with such notes as seem necessary to aid the scholars in under- 
. standing the text. The poem is followed by several pages of questions and 
suggestions for the study of the poem, with subjects for composition work, 
suggested readings from Longfellow's poems, and a topical outline of Evan- 
geline. Also several Biblical allusions with references to line numbers, 
and a series of questions upon the entire poem. Price 10 cents. 

4t>. Selections from Hawthorne. The Snow Image, The Great Stone Face, The Great 
Carbuncle, enameled covers, 110 pages. 15 cents. 

47 Bunker Hill Oration, Webster. 42 pages, containing portrait, introduction, the" 
oration, and a series of studies and questions, paragraphs numbered, 5 cents. 

48. Sir Roger de Coverley Papers, illustrated, with portrait, full cloth bound, con- 

taining papers from the Spectator, a number of illustrations, introduction, 
with notes in the back of the book, and an exhaustive series of questions 
and suggestive material prepared by Carrie E. T. Dracass, of Englewood 
High School, 25 cents. 

49. SELECTIONS FROM ENGLISH POETS. 

Coleridge— The Ancient riariner, Christabel. Kubla Kahn, France, An Ode. 
Shelley — Adonais, The Cloud, To a Skylark. 

Wordsworth — Ode to Immortality, To a Skylark, Elegiac Stanzas, A Picture 
of Peel Castle in a Storm, bonnets: 1. •• The world is too much with us." 

2. " Earth has not anything to show more fair." 3. To the Planet Venus. 

4. To Sleep. 
Keats (with portrait)— Ode on a Grecian Urn, Ode to a Nightingale, Ode on 

Melancholy, To Autumn. Sonnets: l.On First Looking Into Chapman's 

Homer. 2. On the Grasshopper and Cricket. 
Byron — Childe Harold, HI. and IV. Cantos (abridged). 

50. SELECTIONS FROM ENGLISH PROSE: 

Johnson's Journey to ihe Western Islands (abridged), with portrait. 

Lamb — Essays or Elia (Five). 

Landor— Imaginary Conversations (Five). Edited with portraits, preface and 

introduction with notes, intended for secondary schools; about 100 pages 

full cloth, side stamp. Price 30 cents. 

51. Midsummer Night's Dream. With portrait, introduction, brief sketch of Eliza- 

bethan England, glossary, and notes, 103 pages. Price 15 rents. 

52. The Tempest. With portrait, introduction, brief sketch of Elizabethan Eng- 

land, glossary and notes, 106 pages. Price 15 cents. 

53. The Winter's Tale. With portrait, introduction, brief sketch of Elizabethan 

England, glossary, and notes, 135 pages. Price 15 cents. 

54. The Comedy of Errors. With portrait, introduction, brief sketch of Eliza- 

bethan England, glossary, and notes. 109 pages. Price 15 cents. 

Other numbers in preparation. 

The Publishers will be pleased to forward specimens for examination, and will 
quote terms for introduction and exchange. Full descriptive catalogue on appli- 
cation. 

AINSWORTH & COMPANY, 

378-388 Wabash Avenue. CHICAGO, ILL. 



